Friedhofer's use of the Dies Irae in Between Heaven and Hell takes the horrors of war to the ultimate depths of psychological despair. Of course, there are other examples of composers painting war films with a dark and woeful palette, but in my opinion, this is among the most inspired and effective. Providing balance are some absolutely beautiful passages such as "Sam and Jenny's Theme" and "Retrospective No. 2," reminding the listener that in the midst of madness, behind the killing machines, the heart still aches with sentimental yearning for what once was and could possibly be again.

The more consistently-melodic, Asian-flavored Soldier of Fortune makes for a refreshing chaser.

Oh yes, I'm on a Friedhofer binge at the moment, and this CD is indeed excellent. He brought so much psychological depth to his scores, so they work their magic on you on many different levels. BETWEEN HEAVEN AND HELL is discussed in detail in the "The Art of Film Music" by George Burt, along with other scores by Raksin, Rosenman and North.

Maybe that's what I was really trying to get at in that other thread - it's not that the above-mentioned composers often sounded alike, it's more that they all seemed to treat the characters and situations in a very profound way - or at least that's what I pick up on, but then we're back to how each listener responds.